Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Key Gb major – Eb minor Chords Gb, Ebm, Gb/Bb, B, Db/F, Db, Abm Easy key G
Gb Gb/Bb Ebm B
Gb Gb/Bb Ebm B
Life is so simple A little boy, a little girl
Gb Gb/Bb Ebm B
Laughing and loving, tryin' to figure out the world
Gb Gb/Bb
It felt like summer, when I kissed you in the rain
Ebm B
And I know your story, but tell me again
Gb
Nothing you say wouldn't interest me
Gb/Bb
All of your words are like poems to me
Ebm B
I would be honored if you would take me as I am
Gb Db/F Ebm
I want you To look right in my eyes
C# B F#/Bb C# C#4, C#
To tell me you love me, to be by my side
Gb Db/F Ebm
I want you at the end of my life
Db B Gb/Bb Abm
I wanna see your face when I fall with grace, at the moment I die
Gb Gb/Bb Ebm B
Is that alright? Is that alright
Gb Gb/Bb Ebm B
I hope you're still with me when I'm not quite myself
Gb Gb/Bb Ebm B
And I pray that you'll lift me when you know I need help
Gb Gb/Bb
It's a warm celebration of all of our years
Ebm B
I dream of our story, of our fairy tale
Gb
Family dinners and family trees,
Gb/Bb
Teachin' the kids to say, "Thank you, " and, "Please"
Ebm B
Knowin' if we stay together that things will be right
Gb Db/F Ebm
I want you To look right in my eyes
C# B F#/Bb C# C#4, C#
To tell me you love me, to be by my side
Gb Db/F Ebm
I want you... at the end of my life
Db B Gb/Bb Abm
I wanna see your face when I fall with grace, at the moment I die
Gb Gb/Bb Ebm B
Is that alright? Is that alright
Gb
Is that alright
End of song Play again?
Harmony analysis
The song opens on Gb and ends on Gb. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: to us the song feels closer to the Gb major side because it both starts and finishes on Gb and Gb is heard 29 times against 15 for Ebm. That is an interpretation, not a rule — hearing the same chords from Eb minor is just as valid and teaches you something different.
Show the degrees above the chords — relative to Gb or to Ebm; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | 16× |
| I | Gb/Bb | Tonic — home | Gb · Bb · Db | 13× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 2× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 13× |
| V | Db/F | Dominant — strongest pull home | Db · F · Ab | 4× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 2× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 15× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 15× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 16× |
| III | Gb/Bb | Relative major — the bright side | Gb · Bb · Db | 13× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 2× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | — |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 13× |
| VII | Db/F | Subtonic — steps back to the tonic | Db · F · Ab | 4× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 2× |
The key pair is Gb major and its relative Eb minor (6 flats). 7 different chords appear 65 times in total; 7 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
The move to watch is B → Gb, heard 11 times. From the Gb side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Ebm side it is VI → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The opening Gb lays a solid floor for everything that follows. The backbone is Gb, Ebm, Gb/Bb, B — I–vi–I–IV from the Gb side, III–i–III–VI from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → Gb (IV → I in Gb, VI → III in Ebm): plagal cadence — the soft 'amen' ending. Ending on Gb, the song seals Gb as home.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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